I can't actually think of a piece of visual horror media that doesn't use jump scares at least once. I mean, even Silent Hill, a series known for its psychological horror approach, uses them from time to time.
Carnival of Souls and, of all things, Videodrome. Also, any graphic novel adaptation of Lovecraft, although I think you mean "filmic medium" here.
Also, the thing to remember about the Geek Social Fallacies is that they are not intrinsically bad in moderation, but people tend to take them to extremes that end up poisoning good social relationships. One should be able to let things go with friends, but one should likewise be able to tell a friend upfront if their behaviour is harming themselves or others; one may have multiple circles of friends that are quite different, but one should also recognise that not every friend is going to get along with every other friend, nor should they; it is horrible to ostracise others simply for being different, but being a constant jerk or creep is not acceptable; and so on.
The issue lies in that certain people overzealously conflate the attribute with the excess, like being loyal to someone with problems to being blind to those problems.
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
This is the nerdiest thing I have ever said in my entire life, but the latter part of the Chimera Ant arc of Hunter X Hunter has made me understand why people like American Football.
a guy being racist on r/EU4 (the Europa Universalis 4 subreddit)
the community there is actually pretty nice, especially by reddit standards and especially by Paradox fan standards, but you still get stupid people like this guy every now and again, who think that saying that there shouldn't be any focus on non-European nations in the game because it's called EUROPA universalis dur hur hur hurr is clever and not racist at all.
Anyways, Siggy, I have just found out, has two Baneslayer Angels in his deck.
Also, I learned that First Strike only works on the very first blocker, which means First Strike is worthless.
You're actually allowed to divide all combat damage as you wish. The game just auto-assigns damage to make things less convoluted for new players. You can turn that off in the options.
You should also turn off the effect that allows you to use damaging effects on your own creatures or good effects on your opponent's creatures. Being able to firebomb your own field can open up a number of new tricks for you.
Admittedly, the only time I've actually pulled that off was with Chandra's deck, which you don't use, but you can probably do cool stuff with Jace and Liliana's decks.
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
Coincidentally, I am listening to that exact song, being the first song on that album which I am listening to through now.
Incidentally, I prefer the post-chorus ("Not like that...") and the verses to the somewhat excessive chorus harmonies, although the later choruses go through some interesting key changes that I like.
I really like how the songs flow into each other so directly. "Sink the Seine" and "Cato as a Pun" really feel like one song, but not in a bad way. It's a very good song.
OK, "Heimdalsgate Like a Promethean Curse" is excessively sugary, although the weird digitally cut-up synth bass and beats have a nice Legendary Pink Dots vibe.
I am the Ottoman Empire and currently spoiled for choice when it comes to potential targets.
About to force The Vlachs into vassalization an conquer the port of Ragusa, but next I could feasibly go after the two small independent sultanates in Anatolia, the Mamluks in Egypt, or Venice in Crete and Cyprus.
I don't think I've heard anything by them, although I remember really liking the Isis album and I find the philosophical concept terribly unsettling.
Oooh, the opening to "The Past is a Grotesque Animal" is like LPD meets NEU! or something and I fucking love it. And now it's kind of Bowie-ish, but not derivative, and aaaaa--
The last albums I listened to were Spare Time Machine and Queen of the Wave by Pepe Deluxé.
Their work contains a lot of psychedelic and garage rock ornamentations. Their primary mission, however, seems to be to try to figure out what would've happened if the 1960s electronica pioneers cared about writing pop songs.
It makes for a very cool listen. Meta and SFS were right about these guys.
The lead into "Bunny Ain't No Kind of Rider" is rad. Love how they strip back all these walls of monstrous noisy synths and samples and then bring them back in here and there in this funky pop song.
You have me thinking about how Disney's movie-based TV series have been mostly forgotten though, it's something I think about a lot (mainly because of 101 Dalmatians: The Series)
"She's a Rejecter" is pretty straightforward until the sudden cutup breakdown. Granted, the acoustic guitar bursts do break up the sound, but they're not that weird. But then there's the breakdown and by the end you've got the blaring synths and vocal cuts and it's fairly intriguing. Still not as cool as what preceded it, but good.
So, on the final track now, "We Were Born the Mutants Again with Leafling". The vocal harmonies, twinkly keyboards and breakbeats are stellar in combination.
The last albums I listened to were Spare Time Machine and Queen of the Wave by Pepe Deluxé.
Their work contains a lot of psychedelic and garage rock ornamentations. Their primary mission, however, seems to be to try to figure out what would've happened if the 1960s electronica pioneers cared about writing pop songs.
It makes for a very cool listen. Meta and SFS were right about these guys.
The first time I listened to Queen of the Wave, I was reminded of the utter unpredictability of listening to Sufjan Stevens for the first time. (It was Illinois, for the record.) Even though Suf and PD are otherwise coming from very different backgrounds and aiming at different goals.
Really, Queen of the Wave is a fascinating collection of contradictions. It's got many of the hallmarks of musical self-indulgence, but in every case they're tempered by PD's commitment to making a pop album. It's a concept album telling a fantasy story (specifically about the fall of Atlantis), but the lyrics are deliberately vague enough that they still function without the listener understanding the plot. It juggles a ridiculous number of disparate genres (psychedelic rock, psychedelic folk, early electronic music, opera, soul, Japanese surf rock, 60s girl bands...) but PD whips each of them ruthlessly until the mash-up sounds natural. They feature bizarre instruments (viol de gamba, Tesla coil synthesizer, and the Great Stalagpipe Organ, to name a few off the top of my head) but there's no instrumental showboating. Ditto the equally bizarre production tricks—they're all subservient to the needs of the song or the album as a whole.
So, Hissing Fauna, Are You the Destroyer? is a pretty damn good album, although I still feel like their later moves in that direction resulted in diminishing returns. I've heard little of their latest two, but apparently those are a bit more interesting, so... who knows? The Coquelicot cycle and Satanic Panic in the Attic are still my favourites, with the Cherry Peel era stuff close behind.
Yarrun is not allowed to define or refer to any part of his sexual or romantic identities using a currently nonsensical term or an animated gif of a darkslide.
Comments
I am not trying to purchase DayZ goddangit
there is a special circle of hell for people like this
the community there is actually pretty nice, especially by reddit standards and especially by Paradox fan standards, but you still get stupid people like this guy every now and again, who think that saying that there shouldn't be any focus on non-European nations in the game because it's called EUROPA universalis dur hur hur hurr is clever and not racist at all.
SPAIN?
I forgot about that THIS IS ONE OF A NUMBER OF REASONS I STOPPED CALLING MYSELF THAT
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
i bought this corduroy blazer that i could barely button because i told myself that it would fit someday and now it fits perfectly
of course with my luck i'll be able to wear it this fall and by the next it will be too large
writing long boring post about work
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
why are you telling us this outside the building
what's going on
About to force The Vlachs into vassalization an conquer the port of Ragusa, but next I could feasibly go after the two small independent sultanates in Anatolia, the Mamluks in Egypt, or Venice in Crete and Cyprus.
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Chil Pollins.
Really, Queen of the Wave is a fascinating collection of contradictions. It's got many of the hallmarks of musical self-indulgence, but in every case they're tempered by PD's commitment to making a pop album. It's a concept album telling a fantasy story (specifically about the fall of Atlantis), but the lyrics are deliberately vague enough that they still function without the listener understanding the plot. It juggles a ridiculous number of disparate genres (psychedelic rock, psychedelic folk, early electronic music, opera, soul, Japanese surf rock, 60s girl bands...) but PD whips each of them ruthlessly until the mash-up sounds natural. They feature bizarre instruments (viol de gamba, Tesla coil synthesizer, and the Great Stalagpipe Organ, to name a few off the top of my head) but there's no instrumental showboating. Ditto the equally bizarre production tricks—they're all subservient to the needs of the song or the album as a whole.
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead